balordire
arte e natura_. Pius IV demanded them for the use of the apostolic
chapel, and, after he had heard them, declared that Palestrina had
surpassed his expectations. These _improperii_ are still sung and will
ever be sung in the apostolic chapel" Baini, Mem. storic. di Giovanni
Pierluigi da Palestrina 1. p. 64.]

[Footnote 93: This hymn is frequently sung in the Greek and Oriental
church. Renaudot T. I, p. 70. According in the Menologium Graecum
and S. John Damascen it was first used in the reign of Theodosius,
when public supplications were offered to heaven during a terrible
earthquake at Costantinople. This Palmer admits, I, 64. It is still
said in Greek, in which it was originally composed, as well as in
Latin, in the Roman church. See Goar in notis ad Rituale Graec.]

[Footnote 94: In the Ordo Romanus XII, Ap. 1, de Presbyterio, it is
prescribed that "according to ancient custom whatever is offered upon
the cross ought to belong to the _schola_ (or company)" of the cross:
in the Ordo XIV, that it belongs to the _Sagrista_. The sum collected
is at present the perquisite of M. Sagrista and the two principal
Masters of ceremonies. These offerings were customary also in other
churches, and in particular at Paris.]

[Footnote 95: Baini observes, that the chant of this hymn is one of
the few instances of _rhythmical_ chant preserved by uninterrupted
_tradition_ in the papal chapel and adorned with the ancient
ornaments. (See his Saggio sopra l'indentita dei ritmi musicale e
poetico. Firenze, 1820). "The chant of that hymn" says Eximano (quoted
by Baini, Mem. Stor.) is a true plain chant, that is, a chant of
unison, such as it is found in all choral books: but the mode of
singing it in the pontifical chapel makes it appear different from
what is sung in other churches--Above all, the distribution of the
notes, which are sung (not of those which are written) adapted to
express the length and shortness of the syllables which compose the
rhythm of the hymn, ought to be studied. "Se si da quell'inno ad un
maestro di cappella per metterlo in musica concertata ed in _battuta
sensibile_, verra subito distrutto il _ritmo_, e se la cantilena
della cappella pontif. si scrive in battuta, si vedranno cadere
nel _battere_ alcune sillabe brevi, senza pregiudizio della loro
quantita". Dubbio di D. Antonio Eximeno sopra il saggio fondamentale
pratico di contrappunto del R.P.M. Martini. Roma, 1773.]

[Footnote 96: The corporal